169 
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>py 1 



A Suggestive LiSt of 

Projedts in Industrial 

Arts for Elementary 

Schools 



By 
LEON L. WINSLOW 

Department of Industrial Arts Bowling Green 
State Normal College 



BOWLING GREEN, OHIO 
1917 



A Suggestive LiSt of 

Projects in Industrial 

Arts for Elementary 

Schools 



By 
LEON L. WINSLOW 

Department of Industrial Arts Bowling Green 
State Normal College 



BOWLING GREEN, OHIO 
1917 






Copyright,, 1917, by Leon L. Winslow 



4 

'CI.A455 527 



FEB 12 1917 



THE DEMOCRAT PRINT 
Bowling Green, Ohio 



• 




The Organization of Industrial 
Content Material 



OME thirty years ago manual training- was introduced into the i 
schools, at a time when hand work as a part of formal education 
was almost unknown, when industrial inefficiency upon the part of 
school trained individuals was the rule. It was hailed as a pan- 
acea; its effectiveness was not then questioned by anyone; today its value 
as an all important means to industrial efficiency is questioned universally. 
Out of thirty years of trial, error, and 'Success there has at last been ' 
evolved a logical conception of manual training and of its function in the 
curriculum. Briefly, the progressive steps in th;s evolution have been 
(1) The introduction of manual training as a form of disciplinary activ- 
ity. (2) The elevating of manual training to the rank of a school study. 
(3) The consciousness that manual training did not produce efficient 
workers, thinking workers. (4) The conviction that manual training be- 
ing decidedly lacking in content values and therefore, in no way equal to 
other content studies, should no longer be entitled to recognition as a 
school subject. (5) A more serious contemplation of industry, with a 
view to providing a school study of maximum educational worth which 
should deal with industry as an organized body of human experience. 

As we look back over this growth in the conception of a school 
study we wonder that advancementhas been so slow. Industry from the 
first demanded of education that it be made industrial, not merely that 
it be made manual. The result of our inability to understand the de- 
mands made by industry has been that manual activities have flooded 
our schools; manual activities, activities specifically manual and de- 
cidedly unindustrial. School courses have been limited to one or two mate- 
rials easily obtained and easily worked because teachers have per- 
sisted in holding fast to the old exploded theory that the acquisition 
of skill should be the ultimate aim of all industrial courses. 

In a word, the selection of activities has been made upon the basi 
of the materials at hand rather than upon the industries. Whenever 
courses have been thus built they have failed in that they have empha- 
sized activities unduly and have thus made them ends in themselves rath- 
er than means to ends. In suoh courses tool processes have been the de- 
termining factor both as regards the choice of projects and their ar- 
rangement in the course. 

Manual training courses in general have been void of thought pro 
during material. The few simple tool operations required nave been 
easily understood if not mastered by pupils who have been able to per- 
form them with as much skill as could be expected in the time allowed. 
A mastery of specific tool operations in the common school is not essen- 
tial. Content is essential. 

What elementary schools need most today is not a period now and 
then devoted to manual training. It is of course true that pupils in the 
grades should have manual tasks to perforin but this hand work need not 
be relegated to a period now and then devoted to manual work and the 
divested of a large part if not all of its original educative significance. 
What the elementary school does need worse than it needs this kind of 
manual training is a comprehensive course in industries. 



l7~ 






_In this paper general education only will be discussed. Vocational 
education is not our province. There is likely no such a thing as general 
vocational education. We .shall keep this fact in mind. There is how- 
» ever a vast body of industrial content material with which all men and 
women of true culture should be familiar. This material is today being 
collected, organized, and evaluated, and it is gradually being crystallized 
into a new school study. What this study is called makes little differ- 
ence. We choose to call it industrial arts. Professor F. G. Bonser of Co- 
lumbia University, has defined industrial arts as the distilled experience 
of man in his resolution of natural materials to his needs for creature 
comfort, to the end that he may more richly live his spiritual life. If we 
accept this definition and govern ourselves accordingly we shall provide 
for a school subject which will deal primarily with the industries, a study 
of industry from the social side as well as from the material side, a cul- 
tural study of industry with the emphasis upon the how and why of in- 
dustrial operations combined with a real appreciation of industrial life. 

The industrial arts point of view accepted,, we shall see that for 
the purpose of organization most of the drawing and construction work 
done in elementary schools will fall to the subject of industrial arts, not 
because industrial arts is a MANUAL subject but rather because it is 
an INDUSTRIAL subject and because industry deals more with manual 
activities than do history or geopraphy or arithmetic. As phases of 
school life drawing and manual training are at the disposal of all school 
studies, but the time has gone by when drawing and manual training 
should be regarded as subjects in the elementary school. 

As regards the range of material at the disposal of the teacher, 
the following will be found suggestive. (1) The manufacture of machin- 
ery for the production of power. (2) The manufacture of conveyances. 

(3) The manufacture of clay products. (4) The manufacture of glass. 
(5) The woodworking industries. (6) Contracting and building. (7) The 
manufacture of cement. (8) The manufacture of leather goods. (9) Print- 
ing and publishing. (12) The manufacture of stains and paints. (13) The 
manufacture of soap. (14) The manufacture of textile fabrics. (15) The 
manufacture of clothing. (16) The preparation and preservation of foods. 

The above list, in a general way, may be said to cover the indus- 
trial field. It is not recommended of course that any teacher should at- 
tempt to cover all of these industries in a given grade. There are fac- 
tors which will influence his choice. Some industries will be found to be 
better suited to the interests and needs of the girls; others to those 
of boys. Some will be found especially appropriate to certain localities; 
but the fact that the industries are not to be approached with a view to 
vocational training should not be lost sight of. 

The industry once decided upon the c lasts! is put to work investi- 
gating it, collecting information from all the sources available. Much of 
the material will be obtained through actual contact with those engaged 
in the industry or who handle its products. Some facts will have to 
be obtained from reference books. Pupils will also be able to collect in- 
formation by writing to manufacturing concerns whose advertisements 
they see in the magazines and newspapers. The instructor should make 
assignments covering such topics as the following: (1) The value of the 
industry to man. (How we are affected by it.) (2) The evolution of 
the industry; its heroes of invention. (3) Characteristics of the product. 

(4) Analysis of the product. (5) Materials employed. (6) Processes in- 
volved. (7) Classification of processes as skilled and unskilled. (8) Health- 
fulness. (9) Hours and wages. (10) The training of workers. (11) The 
part played in the industry by mathematics. (12) The part played by 
drawing. (13) References to the industry found in literature. (14) The 
industry as depicted in art. 

Projects illustrative of the industrial processes involved in the 
above study are arranged by the instructor who is careful to assign them 
as problems to be solved, each pupil being allowed wherever possible to 
work out his own dimensions from the instructions given. 



SUGGESTIVE PROJECTS 



GRADE I. 

Books and Printed 
Products. 

The children make a collection of 
fragments of paper, cloth, wood, etc., 
upon which letters and designs have 
been printed. They observe the 
printed pages of their reading books 
and of magazines and newspapers. 
The concept of printing is formed. 

Paper and Paper 
Goods. 

The small paper boxes used by 
commercial houses in the packing of 
goods are collected and brought to 
school. The uses of boxes and the 
making of them in factories is dis- 
cussed. Paper boxes are made by 
the class, folding, cutting and past- 
ing being the operations involved. 

Bread Making. 

The story of wheat and of bread- 
making. The illustration of this story 
by drawings and the use of clay in 
modeling. The thrashing of wheat by 
the children by rubbing heads of 
wheat in the hands; the grinding of 
wheat by means of stones or a mor- 
tar and pestle: the use of the flour 
thus made in the making of bread. 

Brick and 
Tile. 

Pupils become familiar with brick 
and tile to the extent that they are 
able to identify them as building 
materials. They are able to pick out 
brick houses in pictures and on the 
street. The class makes bricks of 
clay arid builds little houses. Brick 
houses are also shown in imagina- 
tive drawings made by the class. 
This should be expression work in 
which the children are free to carry 
out their own ideas. 

Pottery. 

Why were articles of pottery first 
made? List the various articles of 
pottery and assign to each its use. 
Utensils of clay are made for the play 
house, i. e., crocks, bowls, wash 
basins, bath tubs, etc. No particular 
method should be inflicted by the 
teacher; the children will prefer to 
make these articles by pinching the 
clay into appropriate shapes. 



The Building of a Wooden 
Play House. 

Discussion of wooden buildings and 
their advantages and disadvantages 
over houses of brick. Children in the 
first grade may profitably be given 
some instruction in the problem of 
housing. The children investigate the 
work of the carpenter, visiting men 
at work on buildings in process of 
construction in the neighborhood of 
the school. Later each child makes a 
drawing to show how he would like 
his house to appear when finished. 
The best of these drawings are used 
by the children as guides. After all 
the materials needed are determined 
they are supplied and the children 
cut the boards into proper lengths, 
choose nails suitable for fastening 
the parts together, and go to work * ^ 
building the house. Not a nail is 
driven by the instructor nor are the 
children told where to place the nails. 
In the strictest sense the work is to 
be individual and original. The house 
is not built in a day; it usually re- 
quires about six weeks of persistent 
effort, thirty minutes each day being 
devoted to the work and its subject 
matter. 

The workmanship upon buildings 
of this kind is crude enough — joints 
do not fit as we might wish they did. 
Yet when judged by the child's stan- 
dards the house is quite perfect and 
beautiful; he has approached if not 
quite attained his ideal. 

In work requiring that wood be cut 
and nailed by little children it has 
been found that wooden packing boxes 
serve well the purpose of benches. 
Carriage makers' clamps are substi- 
tuted for vises. A few hammers, 
back saws, try squares, soap boxes, 
and our equipment is complete. Wood 
may be bought at the lumber yard in 
strips one inch wide; the material 
used for the clapboards is one fourth 
inch in thickness, that used for the 
house frame is seven eights of an 
inch thick. A few shingles are easily 
procured and a few pounds of nails 
varying in length from three-fourths to 
two inches may be obtained at the 
hardware store. The fine thing about 
a problem of this kind is that the 
children gain so much in the ability 
to express their own ideas through 



action. They also learn valuable facts 
relating to house building and house 
furnishing. The expense involved is 
slight as compared with the educa- 
tional returns. 

After the house has been enclosed 
it is painted with real house paint 
and the rooms decorated with fur- 
nishings made by the children. 

GRADE II. 

Books and Printed 
Products. 

A book is made by folding a long 
strip of paper several times, vvvvv. 
Attention is called to the fact that 
the first books with pages were no' 
more than this. A collection of pic- 
tures is made, all bearing upon 
a single subject and printed up- 
on paper. These pictures are pasted 
into the book, great care being exer- 
cised in the placing of the picture up- 
on the page. The name of the book 
is printed on the outside sheet, which 
serves as a cover, the teacher print- 
ing the title suggested by the class 
upon the blackboard, and the pupils 
following his lettering, line for line. 

Brick. 

The story of brickmaking is told in 
simple lauguage by the teacher and 
the children are asked to illustrate 
each a certain part of the story. 
Such subjects as the following are 
suggestive: (1) Men getting clay from 
the ground. (2) Men moulding bricks. 
(3) Men carrying bricks to the fire 
for burning. (4) Men burning bricks. 

Pottery. 

The teacher tells the story of prim- 
itive pottery or the children read it 
in their reading books. The story is 
illustrated on the sand table, where 
the primitive industry is being car- 
ried on by little clay men, represent- 
ed as being engaged in digging and 
preparing materials, in making pots, 
and in firing the ware. 

GRADE III. 

Books. 

The story of ancient book making 
in China and Japan. Advantages and 
disadvantages of the Japanese type 
of book. . The making of a Japanese 
book. Materials: 2 cover boards of 
strawboard, 3% in. x 6% in.; 2 pieces 
of straw-board for laced back, 1 in. 
x 6% in.; 1 piece of cloth for cover 
hinges, 4 in. x 14 in.; 2 pieces paper 
to cover straw-board covers, 6 in. x 
7% in.; 4 pieces of paper for cover 



and - 2 pieces, % •• in. x 6% |n.-; -20 
lining, 2 pieces. Zy 2 in. x 6% -in., 
pieces of paper for leaves, 6% in. x 
11 in. Bach of the leaves is folded 
as follows: One of the short edges 
of the sheet is folded over one inch 
and the paper is creased. The oppo- 
site short edge of the paper is now 
folded over to this crease. After the 
pages and covers have been prepared 
they are punched for the laces. 
There may be either an odd or an 
even number of punched holes. The 
book is now laced. The leaves are 
left uncut. 

Brick and Tile. 

The modern methods of brickmak- 
ing as compared to the methods fol- 
lowed by the ancient Egyptians and 
by the American Indians, who built 
houses from bricks of adobe. The 
class will make little bricks. From 
these they will construct an adobe 
house with a roof of thatch. Mate- 
rial for the roof can be procured out 
of doors; i. e., small twigs, grasses, 
etc. 

Pottery. 

It is possible that clay suitable for 
the making of dishes may be found 
in the vicinity of the school building. 
Ask the children to look for it. The 
soil is brought into the school room 
in lumps which are (broken and the 
large stones and roots removed. It is 
now placed in a large- pail partly 
filled with water, and the mass 
stirred. The mud being thoroughly 
mixed to the consistency of a thick 
cream is poured through a screen in- 
to a second pail. The small stones 
are in this way removed. An ordi- 
nary window screen may be used, al- 
though a finer sieve is desirable. 
After settling over night the clear 
water is poured off and the clay 
spread out in the sun to dry suffi- 
ciently for use. Before being used 
however, it is made plastic by work- 
ing a few minutes in the hands. 

Designs for the vases are worked 
out by folding and cutting pieces of 
paper. In this way silhouette patterns 
are easily produced. The form should 
be kept simple, the sides nearly ver- 
tical. The silhouette is transferred 
to drawing paper, tinted to match or 
to harmonize with the color of the 
clay after it has been fired. A decor- 
ative border or surface desgn involv- 
ing the repetition of a unit may be 
worked out with tempera water color 
paints or with colored crayons. Tne 



colors used may be (1) The color of 
the clay after firing. (2) Yellow-red. 
(3) Red. (4) Black. 

The dishes will be made by build- 
ing by the use of clay coils rolled 
between the hands and the desk top, 
which may be protected by sheets of 
linoleum, boards, or heavy paper. A 
pasteboard disk having the same di- 
ameter as the base of the proposed 
vase form is used as a guide in 
starting. This is covered with a disk 
of clay about 3-16 inches thick and 
the building cf the walls is accom- 
plished by the spiral arrangement of 
the clay coil which is welded to 
itself at each complete revolution by 
being pressed firmly against the 
growing wall. The clay should be 
kept in a plastic condition. If the 
walls become unsteady because 
of their moist condition and the 
weight of the clay, the form should 
be set aside to become leather-hard 
when the building may be continued. 
Before continuing however, the rim 
of the dish, formed by the last coil, 
should be cut squarely off with a 
knife and a 'thick mixture of clay 
and water, called slip, applied with a 
bristle brush. A mucilage brush will 
answer the purpose. When the form 
has been entirely built it is scraped 
off and carefully trued with a knife 
and with isandpaper. The design may 
now be incised by means of a knife 
or the point of a nail, while the clay 
is still soft. The parts to which col- 
or is to be applied are now brushed 
over with slip just before the color 
is applied. The slip is brushed on and 
the color applied immediately. Pig- 
ment colors for application to the 
clay may be produced by reducing 
rotten stones of various colors to 
powder by means of a hammer, or 
better, by mortar and pestle. The col- 
ors are now mixed with a small pro- 
portion cf clay which will bind them 
to the body of the dish; or more at- 
tractive colors may be bought at the 
paint or drug store. The colors are 
mixed with liquid glue and are paint- 
ed upon the moist clay in the form 
of a thick paste. It is a good idea 
to scratch the surface of the clay 
with a pin or piece of broken glass 
before painting the ware as this 
will improve the bonding quality. Yel- 
low ccher is used for yellow-red, 
red oxide of iron for red, and black 
oxide of copper for black. 

In firing pottery of this kind it is 
not necessary to have a kiln in order 
to do satisfactory work. Dishes made 



in school should be preserved by fir- 
ing because an industrial process is 
thereby made clear to the child and 
because the dishes thus made are 
useful and therefore practical. Iron 
kettles placed in an open fire of 
wood will make it possible for the 
children to fire their pottery after 
the Indian or open fire method, the 
kettles keeping the burning embers 
from falling upon and thus breaking; 
the dishes. The kettles therefore, 
should be covered in order that the 
dishes shall not be broken. The heat- 
ing and cooling should be gradual, 
the dishes being kept at a red heat 
for about an hour. 

If there is no clay at hand it may 
be ordered from a school supply 
house. A low temperature clay should 
be specified. 

In connection with the study of 
pottery it is suggested that the class 
collect illustrations in which articles 
of pottery are advertised. These pic- 
tures can be mounted on large cards 
and the dishes compared. They should 
be judged from the standpoints of 
utility and of beauty. Articles of pot- 
tery or fragments of pottery may al- 
so be collected to illustrate earthen- 
ware, stoneware and porcelain. 

GRADE IV. 

Books and Printed 
Products. 

A comparative study of the meth- 
ods of bookmaking which obtained 
during the middle ages and those of 
to-day. How are we effected by books 
and ether publications? What would 
happen if there should be no more 
printing? Imagine the world without 
any facilities for printing for the pe- 
riod of one year, beginning to-day. 
What would be the result? 

To make a book of a single signa- 
ture: 

The cover boards will be Vh in. 
wider and % in. longer than the 
page in order that the covers 
may project beyond the pages. The 
size and proportions will be deter- 
mined to suit the purpose for which 
the book is to be made. The book 
described below is suggested as suit- 
able for the mounting and preserv- 
ing, of reproductions of masterpieces 
in art. Each picture is mounted on 
a page of odd number, while the 
story regarding it is written on the 
page at the left or a page of even 
number. The mounting of the pic- 
tures and the arrangement of written 
material, the observing of proper 



margins according to the best typog- 
raphy, etc., are problems in design 
involving the division of space. Pro- 
cedure: (1) Choose a rectangular 
piece of straw-board large enough to 
make one cover board. (2) Place the 
same on the desk so that it lies ver- 
tically in reference to the edge of 
the desk nearest ypu, which is horiz- 
ontal. (3) Place the ruler on the 
straw-board along the upper edge. (4) 
Measure 6% in. from the left corner 
and place a point. (5) Place ruler on 
desk just below the lower edge of 
straw-board and place a point on this 
edge 6% in. from the left edge. (6) 
Draw a line connecting this point 
with the one on the upper edge. (7) 
Place ruler on left edge of straw- 
board and measure down on left edge 
Sy 2 in. from upper corner and place 
a point. (8) Measure down on pen- 
cil line %y 2 in. from upper edge and 
place a point. (9) Connect this point 
last made with that on the left edge 
of the straw-board. (10) Cut out cover 
board. (11) Day out and cut second 
cover board. (12) To lay out linen 
back measure off on back of mate- 
rial, dimensions in tihe manner given 
above, getting out the bookbinders' 
linen 5 in. x 9% in. (13) Draw a 
center line lengthwise of the mate- 
rial. (14) Draw lines across either 
end parallel with and y 2 in. from the 
short edges of the material. (15) 
To prepare cover papers 5% in. x 9% 
in. measure as suggested above. (16) 
Paste linen back to cover boards, 
leaving % in. between the boards 
(the thickness of the book deter- 
mines this distance). (17) Paste 
cover paper to cover boards, cutting 
corners on mitre and then pasting 
down laps. (18) Count out half as 
many papers as there are to be 
leaves in the book. (There should 
be a supply of paper stock for 
this purpose cut 8% in. x 13% in.) 
(19) measure and cut this paper into 
pieces. 8% in. x 13 in. (20) Fold 
each sheet to make two pages, 6% x 
8*4 in. (21) A piece of ordinary 
linen cloth is now prepared as super 
for holding the covers to the leaves 
of the book. It is measured and cut 
y 2 in. shorter than the length of 
pages (or 7% in. long, and 4 in. wide. 
(22) Draw a center line lengthwise 
of the super. (23) Place pages to- 
gether and stab or pierce for sewing. 
Stabbing may be accomplished by 
means of a fine awl or coarse nee- 
dle. (24) Place super outside of fold- 
ed pages, its center line lying along 



the stabbed holes, and "sew the pages 
and super together, the needle first 
entering the center stabbed hole, pro- 
ceeding to one end of the row of 
stabbed holes then back to the oppo- 
site end and so on to the center, 
where the knot is tied. (25) Paste 
the signature or section of pages to 
the cover boards by pasting the su- 
per to the cover boards, being care- 
ful to center signature at back, in 
reference to cover boards. (26) Paste 
down end sheets, the leaves next to 
the covers. 

Caution: The worker should have 
at hand a pile of flat papers about 
9 in. x 12 in. Torn newspaper will 
serve the purpose. These papers are 
to protect the work as it is being put 
through the various processes. The 
papers should be stacked before the 
pupil who keeps his work upon the 
uppermost piece which is always 
clean since he crumples the pa- 
pers and drops them on the floor 
as soon as they become soiled 
with paste or glue. Papers are al- 
so used under the hand when rub- 
bing one pasted paper upon another. 
At the close of the period the crum- 
pled papers are picked up and put 
in the waste basket. 

Paper and Paper 
Products. 

The evolution -of writing materials. 
A comparative study of early and 
modern methods of paper making. 
The pupils are asked to bring clean 
scraps of white cloth, and the other 
things needed. The making of pa- 
per. The following directions will 
guide the teacher in carrying out 
the project: (1) Tear the rags into 
little bits about y 2 in. square or even 
smaller. (2) Twelve ounces of caustic 
soda* are dissolved in six quarts of 
water. (3) The fine bits of cloth are 
stirred into this. (4) The caustic 
soda solution, containing the rags in 
suspension, i.s boiled for three or 
four hours. This may be done out of 
doors if no stove is at hand. (5) 
Rinse rags thoroughly in three wa- 
ters, pouring the mixture into a col- 
ander and wringing the rags each 
time. (6) Dry the rags, spreading 
them out in shallow tins or upon 
boards where they may better come 
in contact with the air. (7) Run dry 

*CAUTION: Caustic soda or sodi- 
um hydroxide comes in stick form and 
is poisonous. It should be provided 
and cared fcr bv the teacher. 



rags through mj&at chopper, which 
will reduce them to a fine pulp. (8) 
Put pulp into a wash of six quarts of 
water, containing eight tablespoons 
full of starch, one of bluing and one 
half pint of liquid glue. (9) Agitate 
the wash by stirring with a paddle 
or stick and while the pulp is held 
in even suspension in the water, dip 
in the mold, a screen the isize of the 
proposed sheet of paper. 

When the screen is lifted out the 
liquid will be allowed to drain back 
into the tank. (10) Turn thin layer 
of pulp which has been deposited on 
screen into a. shallow dish (a pie tin 
will answer this purpose) .A piece of 
cheese cloth should first be placed in 
the dish in order to prevent the pulp 
from sticking fast to the dish. (11) 
Cover this first layer of pulp with a 
small piece of cheese cloth. (12) De- 
posit a second layer of pulp; cover 
with cheese cloth; etc.. until the de- 
sired number of sheets has been pro- 
vided for. (Each child in turn will de- 
posit his layer of pulp and a cover of 
cheese cloth upon the pile). (13) Ap- 
ply pressure to pile. This may be 
done by placing it in a standing press 
or letter press. The pressure may 
also be applied by means of clamps 
or hand screws, or by t'he use of 
weights such as bars of iron, heavy 
stones, etc. The water will run out 
as the pressure is applied. A few 
holes may be made in the tin dish 
containing the pile of pulp. (This 
may be easily accomplished with a 
hammer and nail). The water is 
caught in a pail as it is squeezed out. 

Pottery. 

Modern commercial methods of 
making rectilinear clay dishes. 

The making of a design for a 
square dish for flowers. The jardi- 
niere may be elevated upon four 
feet, one at each corner, if desired. 
It may be glazed if equipment for 
glazing and firing is at hand. The 
side of this flower dish will furnish 
a problem in design involving an ap- 
plication of the principle of balance, 
bisymmetrical or free. Proportions 
will be determined first, after which 
will come the consideration of the 
placing and shape of legs, the deco- 
ration and color, if the piece is to be 
glazed. The design will be incised 
by means of a sharp instrument (a 
nail will answer the purpose). The 
motive for design may be suggested 
by natural forms such as flowers, 
fruit, birds, etc., or it may be geom- 



etric. The class will work with col- 
ored crayons, striving to represent 
correctly the color of the clay. If 
colors are to be employed in decora- 
tion the scheme of color should be 
analogous, i. e., colors lying next to 
one another in the color circuit, as 
blue and blue-green ; blue-green and 
green; green and green-yellow, etc. 

The making of a square flower dish 
using slabs of clay to form the walls 
and bottom: The sides and bottom 
will be made separately (five pieces). 
These parts will be welded together 
by means of a mixture of clay and 
water, slip. Surfaces to be united by 
welding are first covered over with 
slip applied by means of a bristle 
brush (an ordinary mucilage brush is 
excellent for the purpose). The sur- 
faces are immediately united by be- 
ing pressed firmly together and 
tapped with finger tips to increase 
the bond. 

A brief study of glazes is taken up. 
The story of Palissy the Potter is 
read by the class or is told by mem- 
bers of the class, who have read it. 

The dish may be fired according to 
the open fire method described for 
Grade III, or in the school kiln, if 
such is provided. 

Dairy 
Industry 

During the study of dairying, charts 
are prepared which help to clarify 
the concepts of utensils and process- 
es and furnish opportunity for vital 
instruction in art. The class is en- 
couraged to bring material, such as 
pictures, advertisements, labels, etc. 
The instructor aids in the selecting 
and grouping of these by suggestions 
only. The material is arranged by 
the children. 

One chart might be labeled Dairy 
Products and all pictures and other 
material illustrative of this topic 
mounted on it. Little bottles of milk, 
cream, butter, buttermilk, cheese, 
malted and condensed milk, could be 
displayed effectively in this way. 
Another chart might be designated 
Dairy Utensils and illustrations of 
the various utensils used in the 
dairy would be arranged on it. Mis- 
cellaneous pictures of the dairy and 
its utensils and machines could be 
grouped on still another chart en- 
titled The Dairy. 

The cardboard used in mounting 
should be rather large, 20 in. x 24 in. 
or even larger. The cord employed 
in hanging charts and in fastening 



the bottles and other objects in place ' 
should - be of the same hue of color 
as the chart itself, which should be 
of a low color chroma of yellow-red, 
green, blue, etc. The titles for these 
charts should be printed by the chil- 
dren. Pieces of paper, of the same 
hue as the mounting board chosen, 
but of a lighter value, cut to occupy 
the space required for the printed 
title, are prepared by the children, 
who are left to determine size and 
proportion. The best size and shape 
being decided upon by the class, 
each pupil prepares a strip of pa- 
per of the established shape and size 
and prints upon it the title for the 
chart. The most satisfactory printed 
title is mow chosen and the pupil 
making it is allowed to paste it in 
place. Each chart is prepared by 
the class, the articles being first 
pinned in the places where they ap- 
pear to the ibest advantage and then 
pasted. Equal margins are observed 
at the left and right and a margin 
slightly larger than tbe one at the 
top is left at the bottom of the chart. 
Chart making will be found an ef- 
fective means of vitalizing subject 
matter and of sustaining interest. 
The work will throughout its progress 
enable the pupils to select material 
bearing upon a single subject and to 
arrange this material to the best ad- 
vantage considering the relative im- 
portance of the units and their best 
artistic arrangement. The finished 
charts will be hung in the school 
room where the class may see the 
combined result of their efforts. 

Drawings made by the children, 
might also be mounted on another 
chart. These drawings should include 
free representations of the utensils 
used in dairying. 

Butter Making. 

While the dairying industry is be- 
ing investigated the process of but- 
ter making can be clarified by the 
making of butter. All the materials 
and many of the utensils should be 
brought in by the children. 

If dairy utensils cannot be obtain- 
ed-; improvised utensils can be used 
with equally satisfactory results. A 
glass fruit jar, having a tightly fit- 
ting cover can be used in' churning 
and is easily handled by the children. 
While using these improvised uten- 
sils, the teacher should constantly re- 
fer to the practical dairy utensils, thus 
giving the pupils a correct idea as to 



the utensils as well as the process 
of butter- making. 

. The cream is first allowed to sour, 
then poured into the real or impro- 
vised churn. When the butter has 
been formed by churning, the butter- 
milk is poured off and strained. The 
butter is then worked, salted and 
set in a cool place to harden. A lit- 
tle bottle of this product should be 
placed on the Dairy Products chart, 
and the remainder may be given to 
the pupils to eat on crackers at re- 
cess in order that they may judge 
the result of their work. The uten- 
sils emphasized in this work are: 
the churn or jar, the wooden bowl 
and mixing paddle, and the crock. 

Each child should be given a task 
so that the process will be under- 
stood by all. The work of preparing 
materials, washing utensils and churn- 
ing the butter by shaking the glass 
can should be shared among all the 
pupils. 

Butter making provides a splendid 
opportunity for the teacher to empha- 
size sanitation. All utensils should 
be carefully washed and sterilized, 
then kept covered until used. The 
source and growth of bacteria colo- 
nies should be carefully explained in 
order that the pupils will understand 
why these precautions are necessary. 
This project can be used as a 
means of motivating lessons in draw- 
ing, spelling, language and arithme- 
tic. The utensils can be drawn and 
the drawings mounted on the chart; 
the names of the utensils can be 
used as spelling words; problems and 
compositions can be woven about 
the industry. The educational value 
as well as the interest and enjoy- 
ment afforded will convince one that 
the time devoted to work of this kind 
is well spent. 

GRADE V. 

Books and Printed 
Products. 

A comparative study of early and 
of present day methods of printing 
by means of movable types. The 
story of John Gutenberg and his 
printing press is read before the 
class hy pupils to whom this reading 
has been assigned. 

A simple booklet is made in which 
will be preserved information rela- 
tive to the subject of printing. A 
visit to a small job printing shop 
should be arranged if possible, and 
an account of the visit written for 



the booklet, which, should also con- 
tain drawings made to illustrate: (1) 
The first printing press. (2) Type. 
(3) Hand lettered alphabet. (4) 
Printed books. These drawings should 
indicate that pupils understand the 
principle that surfaces viewed at an 
angle appear to be narrower from 
front to back than they actually are. 
Examples of good typography, cut 
from magazines and newspapers, may 
also be mounted and kept in the 
booklet. 

The construction of the project 
need not be elaborate. The pages, 
perhaps 7 in. x 9 in., are fastened to- 
gether by punching and lacing. A 
piece of flexible paper will serve as 
a cover. A simple cover design ap- 
propriate to the subject of printing, 
is made. This design will include: 
(1) A marginal line. (2) The title 
and the name of the author in free 
hand lettering. (3) An appropriate 
spot or unit which may symbolize a 
printing press, a printer at work, a 
shelf of books, etc. The design for 
unit will be transferred to a linole- 
um block (a block of soft wood about 
an inch in thickness to which a piece 
of linoleum, perhaps 3-16 in. in thick- 
ness, has been glued). The linoleum 
is cut away from those parts of the 
design which are not to print. A. 
pad of cheese cloth is made by roll- 
ing up a strip of the material so 
that at least four thicknesses are 
piled one upon the other. Over this 
pad is poured a mixture of liquid 
glue in which tempera water color 
paints have been niixed. If the mix- 
ture is too stiff a few drops of wa- 
ter are added. By the use of this 
ink pad and the linoleum block the 
unit design is printed upon the cover 
wnere it will appear to the best ad- 
vantage. A complementary color 
scheme should be used. The color 
employed "In the printed unit being 
the complement of that used in the 
marginal line r and lettering, as for 
example, yellow and purple-blue, red 
and blue-green, yellow-red and blue, 
etc. 

Pesters offer excellent opportuni- 
ties for combining instruction in in- 
dustry and art. In the making of a 
class poster all members of the class 
are provided with linoleum blocks 
just alike. An entire alphabet is 
cut, each pupil cutting a letter. Each 
member of the class now makes a 
small pester design and the most sat- 
isfactory one is chosen for the large 
class poster. The large poster is 



printed^ each pupil inking and im- 
pressing a letter in turn, the pupils 
being arranged in line, type blocks 
in hand, to spell out the words need- 
ed. Such work will require careful 
supervision. It is well to appoint 
two pupils to act as foremen. The 
letters forming the words should be 
placed close together and the spaces 
between the words should be equal. 
The printed lines can be kept straight 
by means of thumb tacks and strings. 
The principle of balance should be 
observed in the arrangement of print- 
ed matter upon the page. A pad of 
soft papers, placed underneath the 
poster paper will facilitate the print- 
ing. 

Brick, 
and Tile. 

A study of modern brick and tile 
making. Small pieces of wood small 
nails and a hammer will be given to 
each pupil who will endeavor to con- 
trive and construct a brick making 
machine, I he function of which shall 
be: (1) To form clay into strips 
which are oblong in section. (2) To 
provide for cutting this strip of clay 
into small pieces, thus forming the 
bricks. The bricks will be made by 
forcing clay through the mold; the 
bricks are then cut off with a piece of 
wire. They can be fired in an open 
fire out of doors. 

GRADE VI. 

Books and Printed 
Products. 

The linotype machine; stereotyping 
and electrotyping as means of mak- 
ing type arrangements permanent. If 
possible, a visit to an up-to-date news- 
paper or publishing house should be 
arranged. 

The instructor may illustrate the 
process of stereotyping in the fol- 
lowing manner: (1) Obtain from 
Grade V a linoleum print block which 
has been made by a pupil of that 
grade; or make such a block by cut- 
ting a letter in relief. (See Grade V). 

(2) This block will be the pattern 
from which it is desired to make a 
matrix, or form for casting type. 
Pack pulp (made by soaking paper in 
water) around the block in order to 
get an accurate impression of all, in- 
cluding the letter and entire block. 

(3) Remove the print block from the 
pulp which has now been made to 
conform to its shape. (4) Allow this 
pulp box or matrix to dry. (5) Pour 
"moulten lead into the matrix. If 



poured very slowly the "metal will 
run down into all the edges of the 
inside of the form. (6) After the lead 
has hardened and cooled the pulp 
may be scraped off. (7) The face of 
the piece of type thus cast is now 
finished with a file. 

Modern bookbinding. The making 
of a book of many sections. Consult 
Cockerell, Bookbinding and the Care 
of Books. 

Hollow Tile. 

Hollow tile manufacture The mak- 
ing of hollow tiles 1 in. x 1% in. x 
2 in., by means of a simple wooden 
mechanism constructed by the pupils. 
The firing of the tile. The planning 
and erecting of a small model build- 
ing such as a house, barn, or ga- 
rage. The making of the plan will 
involve a study of building plans 
(some of these should be brought to 
school by pupils), and the drawing of 
a plan to scale. 

The hollow tile made in school will 
serve as the building material. The 
binding paste will be common lime 
mortar which is made by combining 
lime, sand and water. The advan- 
tages and disadvantages of lime mor- 
tar will be discussed, the proportion- 
ing of the quantities of materials 
will be based on volume, i. e., 1 part 
lime, 2y 2 parts sand, 2% parts water. 
The materials are measured out and 
are" kept separate. A large pan serves 
as a mixing box. A bed of sand is 
made in the pan and the lime dis- 
tributed as evenly as possible over it. 
The entire amount of water is now 
sprinkled over the lime and the re- 
mainder of the sand sprinkled over 
this. It is advisable to cover the pan 
in order to retain the vapor given 
off while the lime is being slaked. 
The wet materials are now left un- 
disturbed for at least twenty-four 
hours before they are mixed to- 
gether. The mixing may be. done 
with a small trowel or a broad knife. 
The mixing process should be thor- 
ough, an even paste being the result. 

Baskets. 

A comparative study of the follow- 
ing as materials for basket making: 
strips of ash, oak strips, willow, rat- 
tan. Investigation of a modern bas- 
ket factory through visiting or corre- 
spondence. 

The designing of a small basket to 
be made either of rattan only or of 
rattan covered with raffia. Pupils 
should be allowed to choose which 



type of basket they would rather 
make. A silhouette or outline pat- 
tern is obtained by folding and cut- 
ting. The outline is then transferred 
to a sheet of drawing paper and the 
design colored by means of crayons 
or water color paints. If the basket 
is to be made of rattan and raffia 
more elaborate decorative patterns 
may be used. The principles of 
adaptation and interrelation of units 
may thus be provided for in design, 
while chroma or strength of color 
will be emphasized in the making of 
appropriate color combinations. 

In the weaving of rattan baskets 
the reeds perform two functions: 
those which form the skeleton frame- 
work are called spokes, while those 
which pass in and out, thus filling in 
between the spokes, are called the 
weavers. Large diagrams placed up- 
on the blackbroad to illustrate the 
meciiod of starting the basket, will 
be found helpful in teaching the 
operations of construction. The in- 
structor should also start a basket 
before the class. 

The rattan should be moistened 
before using but it should not be 
put into hot water nor soaked for 
more than a half hour. The reeds 
to be used as spokes should be cut 
to the proper lengths and tied to- 
gether in bundles before wetting: 
reeds to be used as weavers are 
coiled and tied before soaking. The 
worker should keep his fingers moist 
by occasionally dipping them into 
water. 

In making a rattan basket from 5 
in. to 8 in. in diameter it is advis- 
able to use No. 4 rattan for the 
spokes and No. 2 for the weavers. 
The basket maker takes four spokes 
in each hand and, pressing these flat 
so that each lies, beside another, he 
places the four spokes held in the 
right hand upon the four held in the 
left hand. The groups of four reeds 
each are now made to intersect each 
other at right angles, the point of in- 
tersection being midway from end to 
end on each group of reeds. A half- 
length spoke is now placed beside 
one group of four and the weaving is 
begun, there now being in position 
17 spokes projecting around the cen- 
ter. When the start has* reached a 
diameter of 5 or 6 inches a new spoke 
is inserted beside each of those al- 
ready in position excepting the last, 
there now being 33 spokes in all. The 
basket Is carried to completion. To 
finish the rim bring each spoke 



around the two following it and in- 
to the basket, moistening the reeds, 
pulling them in place, and pressing 
them tightly upon the last weaver. 

In making a basket from rattan 
and raffia it is possible to employ one 
of several satisfactory stitches. The 
one which makes the firmest basket 
is perhaps the stitch known as figure- 
of-eight, so named because the raffia 
describes this figure as it passes in 
and out in the process of sewing, 8. 
The basket is formed by coiling a 
piece of rattan, covering it with raf- 
fia and at the same time sewing it to 
itself as the process of coiling pro- 
gresses. The extreme end of the rat- 
tan which has been thoroughly soak- 
ed is first bent to the form of a 
hcok; then the raffia is wrapped 
about this and the coiling-sewing 
process begins. A fine tapestry nee- 
dle is used for sewing and the raffia 
is split, in order that the sewing 
may be facilitated, and is worked 
dry. The figure-of-eight is simply an 
over-and-over stitch the progress of 
the needle being: (1) Between reeds 
and into basket, (2) Around outside 
reed and into basket, (3) Around in- 
side reed and out of basket, and re- 
peat. 

Concrete Construction. 

The making of a small rectilinear 
concrete box. Portland cement and 
its use in the making of concrete. 
Sources of materials. The uses to 
which concrete is put, etc. 

The following steps of procedure 
will be observed: (1) Determine use 
oi doa and its dimensions. No di- 
mension shall exceed five inches. 
The walls and bottom will be V4 in. 
thick. (2) Make a working drawing 
of box representing three views. (3) 
When the box is cast in concrete it 
will be necessary to use a clay core 
to provide for the shape of the in- 
side of the box. Make a working 
drawing of this core using the inside 
dimensions of box as dimensions for 
the core. (4) Compute in cubic 
inches the total volume of box, solid. 
(5) Compute volume of core. (6) Find 
difference between these two quan- 
tities, which will give the cubic con- 
tent of the walls and bottom of box. 
(7) Allowing one fourth of this vol- 
ume for loss w r hen materials are 
mixed (the cement filling the voids 
between the grains of sand), deter- 
mine the number of cubic inches of 
material needed. (8) Four parts of 
cement will be used to one part of 



sand.* How much cement will be 
used? How much sand? (9) Make 
core of moist clay. (10) The box 
will be cast with the mouth down or 
in an inverted position. Place core 
en a slate, glass, or piece of board, 
putting a sheet of paper, or better, 
waxed or stencil paper, under the 
clay to prevent concrete from stick- 
ing. (11) Prepare outer walls of 
form building them of clay about V> 
in. in thickness, leaving a full % in. 
between the core and walls, carry- 
ing the walls up a little over % in. 
above the top of core in order 
to provide for bottom of box. 
(12) Construct a measure in the form 
of a one inch cube for cubic measure. 
Use heavy paper and provide laps 
for gluing. (13) Measure out the ce- 
ment and sand, placing tnese mate- 
rials in a shallow dish (a pie tin 
makes a good mixing pan). (14.) 
Mix the materials dry and then slow- 
ly add water while mixing until the 
mixture is just thin enough to pour. 
(A broad knife is a good tool for 
mixing). (15) Strengthen clay form 
by piling clay about it on the out- 
side. (16) Pour *the concrete mixture 
into the form, over the core, being 
careful to avoid air bubbles. (17) 
Tamp with knife, being careful not 
to disturb core. (18) Place long wire 
nails across core in order to rein- 
force the box at the bottom. Do not 
allow nails to project to within more 
than V4 in. of the form walls. (19) 
Put away to set. The cement will 
begin to harden within half an hour. 
D'amp cloths should be thrown over 
the form at the end of an hour from 
time of pouring. This will prevent 
the evaporation of the water and 
will thus facilitate setting. The form 
should not now be disturbed until at 
least two days have elapsed. (20) 
Carefully remove outside clay form 
and dig out clay core. (21) Smooth 
outside of concrete box by rubbing it 
over a piece of No. 3 sandpaper, be- 
ing careful not to break it as it is 
still quite soft. (22) Make on paper, 
using pencil, border design, adapting a 
flower or animal form to the purpose 
of decoration. (23) Scratch this de- 
sign upon the box with a sharp wire 



*White Portland cement and mar- 
ble dust may be substituted for these 
materials if the same can be obtained 
from the dealer. Boxes made of the 
marble resemble marble boxes. Toch 
Bros., 320 Fifth avenue, New York 
City. 



nail. (24) Place completed box in a 
pail of water to become as bard as 
rock. Tbe more time allowed for 
this process of curing, the better. 
Three days however, will be found 
sufficient. (25) Remove box from 
water. (26) urain water out of it 
and allow all moisture to dry out of 
walls and bottom. (27) Paint box, 
if desired, with Tech's cement filler 
or with any other suitable cement 
varnish. If a dull finish is desired, 
the varnish can be sandpapered with 
No. 00 sandpaper. 

Plaster Molds for Pottery 
Casting. 

The method employed in industry 
for making any number of cups or 
vases, all just alike. Sources of ma- 
terials. Location of the places where 
the industry is carried on. 

To make a plaster mould from a 
small bowl or cup, the same to be 
without a handle and to have no 
flange or projecting rim at the bot- 
tom. Pupils bring cups from home 
for the purpose of making the moulds. 
The processes involved are as fol- 
lows: (1) Invert cup upon a piece 
of stencil or oiled paper. (2) Build 
vertical clay wall all around the in- 
verted dish allowing 1 in. between it 
and the clay wall. This wall, about % 
inch thick, will extend 1 in. above the 
bottom of cup. (3) Strengthen wall by 
banking clay around it on the out- 
side. (4) Prepare size by putting a 
piece of soap, as large as a walnut, 
into a dish containing y 2 pt. of wa- 
ter. The water is heated and the 
soap allowed to simmer in it until 
entirely dissolved. The size is now 
allowed to cool. When cool it should 
be of the consistency of molasses. 
(5) A coat of size is now applied 
with a brush to the entire surface of 
the inverted dish. It is well to go 
over the dish twice to make sure 
that all parts have been covered. (6) 
Plaster-of-Paris is now mixed for 
pouring. For every quart of water 
2% lbs. of plaster should be used. 
Plaster is thrown into cold water, a 
handful at a time, until the required 
amount has been put in. The plas- 
ter is now allowed to soak for a 
couple of minutes when the hand of 
the worker is plunged into the mix- 
ing dish and the plaster thoroughly 
stirred to the consistency of cream. 
The mixture is soon felt to thicken. 
When it has become as thick as a 
thin batter it should be poured at 
once over the inverted cup, care be- 



ing taken to cover all parts of the 
surface and to fill the dry form to 
the top of the wall. Air bubbles 
must be broken or kept from being 
poured into the form. (7) The work 
is now left for a few minutes, while 
attention is given to the mixing 
dish which must be rinsed out at 
once before the plaster sets. The 
rinsing water is carried out of doors 
as the pouring of it into a sink will 
stop up the drain pipes. (8) The pro- 
cess of hardening, called setting, be- 
gan as soon as the liquid plaster was 
poured into the form. In about ten 
minutes from the time of pouring the 
plaster will begin to heat. This 
warmth indicates the completion of 
setting. (9) The clay walls are now 
removed at once and the sides of the 
plaster mould trued with a knife. 
This is easily done as the walls are 
still quite soft. (10) The plaster cast 
is now turned over, the cup removed, 
and the mould put away to dry. It 
is most important that all of the wa- 
ter should dry out of the plaster. 

To Cast a Small Bowl or Cup By 
Means of a Plaster Mould. 

Cups are cast by pouring a mixture of 
clay and water, called slip, into plas- 
ter-of-Paris moulds. It is convenient to 
make this slip in small quantities, sev- 
eral pupils being engaged in the work. 
Large bowls or pails are used for 
mixing. Into a quart of water, which 
may be warmed if desired, is placed 
a large lump of clay which has been 
kneaded to a thoroughly plastic con- 
dition. The clay is now mixed with 
the water, which the worker accom- 
plishes by constantly squeezing the 
lumps of clay at the bottom of the 
mixing dish until they almost disap- 
pear, the mixture of clay and water 
getting thicker and thicker as ad- 
ditional particles of clay become sus- 
pended in the water, until the con- 
sistency of batter is, reached. The 
slip is now poured through a sieve 
to remove any remaining lumps of 
clay. 

The plaster moulds, which are to 
be poured, are now arranged in a 
row. Two pouring dishes should be 
provided for the slip. Tin cans bent 
to facilitate pouring, or pitchers, may 
be used. Before using the slip, how- 
ever, it should be slowly poured back 
and fourth from one pitcher to the 
other in order that any air bubbles, 
which are likely to form in all new- 
ly prepared slip, shall be broken. 

Each plaster mould still retains 



some of the soap size which must -be 
removed before it can be used. It is 
therefore cleansed by being filled 
with slip, which is at once emptied 
out. It is then allowed to stand 
for ten minutes in order that the wa- 
ter may be absorbed from the clay, 
which has been deposited upon the 
walls. This thin lining of clay is now 
taken out by means of a small piece 
of plastic clay, which is pressed 
against it. The clay coating will ad- 
here to the piece of moist clay. If 
all of it can not be taken out in this 
way it may be wiped out with a 
piece of cloth. After cleaning,- the 
form should again be allowed to dry 
out thoroughly. 

The plaster moulds are again ar- 
ranged for pouring and each is now 
poured brimful of slip, which is al- 
lowed to round over the opening in a 
little mound, which gradually sinks 
lower and lower into the form as 
water is absorbed into its plaster 
walls. After the last form has been 
filled it is likely that the first will 
be ready for refilling. The process 
of filling is continued, each of the 
forms being kept brimful. After all 
have been kept full for a couple of 



minutes -the -blade of a broad- knife 
may be scraped across the brim of 
the first form in order to ascertain 
the thickness of the clay wall which 
has been drawn to the inside of the 
plaster form,, this clay deposit being 
the wall of the dish which is being 
cast. A thickness of y 8 in. is desired. 
If the walls have not attained this 
thickness the pouring must be re- 
sumed. 

Each plaster form is now carefully 
lifted and the free slip poured out. 

Each form is inverted upon two sticks 
or pencils in order to provide for 
circulation of air under it. A small 
quantity of slip will drip from each 
form before the drying begins. Forms 
should be left in this position undis- 
turbed, for at least half an hour, at 
the end of which time the first may 
be examined for removal. If the dry- 
ing has progressed far enough the 
clay wall will be found to have 
shrunken slightly from the plaster. 
The newly cast dishes are put aside 
to dry. After they have become 
quite dry they may be finished by 
the use of sandpaper. They are then 
fired. 



INDUSTRY CLASSIFICATION 





I. 




d. Tools, Hammers, Chisels, 
Files, Hatchets, Saws. 


Stone, Clay and Glass 
Products. 




Cutlery, Knives, 
e. Stoves. 


1. 


CONCRETE.— 




f. Electric Dynamos and Mo- 




The manufacture of Portland 




tors. 




Cement. 




g. Incandescent Lamps. 




Concrete Construction. 




h. Telegraph and Telephone 


2. 


BRICK AND TILE.— 




Apparatus. 




Building Brick. 




i. Wagons. 




Paving Brick. 




j. Automobiles. 




Drain Tile. 




k. Locomotives. 




Floor Tile. 




1. Ship Building. 


9 


POTTERY.— i 
Earthen Ware. 




m. Plows and Cultivators. 






n. Harvesters and Threshing 




Stone Ware. 




Machines. 




White Ware. 




o. Clocks and Watches. 




Porcelain Ware. 




III. 


4. 


GLASS.— 
Bottles. 
Window Glass. 


Wood Manufactures. 




1. 


Saw and Planing Mill Products. 




Plate Glass. 


2. 


Cooperage. 






3. 


Furniture and Cabinet Work. 




II. 


4. 


Pencils. 






5. 


Fiber Goods. 


Metals, Machinery and 




Fiber Pails. 


Conveyances. 




Wall Board. 


1. 


SILVER— 

Smelting and Refining. 


6. 


Reed Baskets — Slat Baskets. 




Tableware. 




Iv. 


2. 


COPPER — 


Furs, Leather and Rubber 




Sheet Copper. 


Goods. 




Copper Wire. 


1. 


LEATHER.— 


3. 


BRASS.— 




The Preparation of Leather. 




Castings. 




Tanning. 




Rods. 


2. 


FURS AND FUR GARMENTS.— 




Tubing. 




Fur Dressing. 




Brass Spinning. 




Dyeing. 


4. 


ALUMINUM.— 


3. 


BOOTS AND SHOES.— 




Refining. 


4. 


RUBBER — 




Sheet Aluminum and Aluminum 
Utensils. 




Separating Rubber from the 
Latex. 




Castings. 




Preparation of Raw Rubber. 


5. 


TIN — 




Vulcanization. 




Refining. 




Hard Rubber. 




Sheet Tin. 




Rubber Boots and Shoes. 




Tin Cans. 




Rubber Tires. 


6. 


IRON AND STEEL.— 

a. Ore Crushing, Smelting and 




V. 




Refining 


Ch 


emicals, Oils and 




Pig Iron. 


Pa 


ints. 




b. Rolling Mills and Steel 


1. 


White Lead, Linseed Oil, Paint 




Works 




and Putty. 




Rails. 


2. 


Varnish, Shellac and Wood Alco- 




Rods. 




hol. 




Wire. 


O. 


Turpentine and Pitch. 




Wrought Iron Pipe. 


4. 


Gasoline and Kerosene. 




c. Welding. 


5. 


Printing Ink and Writing Inks. 




Chains. 


6. 


Soap. 




Bolts, Nails and Screws. 


i . 


Matches. 



VI. 



Paper and Paper 
Products. 

1. The Evolution of Paper. 

2. Paper Making. 

3. Paper Boxes, Tubes. Cartons and 

Bags. 

VII. 

Books and Printed 
Products. 

1. Engraving and Wood Block Print- 

ing. 

2. Type Casting and Type Setting. 

3. Linotype Composition. 

4. Electrotyping and Stereotyping. 

5. Bookbinding. 

6. Newspaper and Magazine Pub- 

lishing and Printing. 

VIII. 

Textiles and 
Clothing. 

1. Silk and Silk Goods. 

Spinning and Weaving. 

2. Wool Manufactures. 

Shearing, Carding, Spinning and 
Weaving. 

3. Cotton Goods. 

Ginning, Spinning and Weaving. 

4. Flax, Hemp, and Jute Manufac- 

tures. 
Rippling, 
Scutching, 
Weaving. 

5. Bleaching, 

Printing. 

6. Men's Garments and Furnishings. 

Men's Tailoring. 



Retting, 
Hackling, 



Breaking, 
Spinning, 



Dyeing. Finishing, 



8. 



Men'9 Shirts, Collars and White 
Goods. 

Women's Garments and Furnish- 
ings. 

Women's Cloaks, Suits and 
Skirts. 
Women's White Goods. 

Wool, Felt and Straw Hats. 

IX. 



Foods. 

1. Flour and Cereals. 

2. Bread Making. 

3. Sugar and Molasses Refining. 

4. Fruit and Vegetable Canning and 

Preserving. 

5. Chocolate and Cocoa. 

6. Salt. 

7. Lard Compound. 

8. Oleomargarine. 

9. Yeast. 

10. Slaughtering and Meat Packing 

11. Dairy Products. 

12. Artificial Ice and Distilled Water. 

13. Cider, Vinegar and Grape Juice. 

X. 

Water, Light and 
Power. 

1. Water Pumping. 

2. Gas. 

3. Electricity. 

4. b.eam n.eat and Power. 

5. Garbage Disposal. 



Adapted from the Industrial Di- 
rectory of New York (1912) by Mr. 
A. P. Gompf of the Bowling Green 
State Normal College. 



A LIST OF HELPFUL REFERENCE BOOKS 



(Books which may be placed in the 
hands of the pupils are marked with 
the asterisk). 

Theory and Practice. 

Bailey, H. TV; Art Education; New 
York; Houghton Mifflin Co. 

Bonser, F. G., and Russell, J. E. ; In- 
dustrial Education; New York; 
Teacners College, Columbia Univer- 
sity, Bureau of Publications. 

Dow, Arthur W.; Composition; 
New York; Doubleday, Page & Co. 

Munsell, A. PL; -A. Color Notation; 
Boston; Geo. W. Ellis. 

Norton, Dora M.; Freehand Per- 
spective and Sketching; Brooklyn; 
Pratt Institute. 

Baskets, Boxes, 
Cartons. 

Buxton, F. B., and Curran, F. L.; 
Paper and Cardboard Construction; 
Menomonie, Wis.; The Menomonie 
Press. 

*Dutton, Maude Barrows; In Field 
and Pasture; Cincinnati; American 
Book Co.; Indian baskets, pp. 29-31 

*Dopp, Katharine E.; The Early 
Cave Men; Chicago; Rand, McNally 
& Co.; Baskets-Pages 67-70, 126-137; 
Illustrated. 

*Dopp, Katharine E.; The Tree 
Dwellers; Chicago; Rand, McNally 
& Co.; Baskets-Pages 106-111; Illus- 
trated. 

*Dopp, Katharine E. ; The Early 
Cave Men; Chicago; Rand, McNally 
& Co.; Bags-Pages 92-95; Illustrated. 

Holton, Martha A. and Rollins, 
Alice F. ; Industrial Work for Public 
Schools; New York; Rand, McNally 
& Co.; Raffia and Reed Baskets. 

*Sneeden, Genevra Sisson; Dorcas, 
The Indian Boy; Boston, D. C. Heath 
& Co.; Indian Basketmaking pp. 17-18. 

Trybom, J. H.; Cardboard Con- 
struction; Springfield, Mass.; Milton 
Bradley Co. 

James, George Wharton; Indian 
Basketry and How to Make Baskets; 
1 William St., New York; Henry 
Malkan. 

Turner, Luther W.; The Basket 
Maker; New York; Atkinson, Ment- 
zer & Co. 

White, Mary; How to Make Bas- 
kets; New York; Doubleday, Page & 
Co. 

White, Mary; More Baskets and 



How to Make Them; New York; 
Doubleday, Page Co. 

Bread. 

* Button, Maude Barrows; In Field 
and Pasture; Cincinnati; American 
Book Co.; Indian Bread-making, pp. 
14-15; Good Illustrations. 

Goddard, Pliny Earle; Indians of 
the Southwest; New York; American 
Museum of National History; Bread- 
making, p. 83. 

Greer, Edith; Focd, What it Is and 
Does; New York; Gmn & Co. 

*Laing, Mary E., and Edson, An- 
drew; Edson-Laing Readers, Book 
Three; Boston, New York, Chicago; 
Benj. H. Sanborn & Co.; Bread-mak- 
ing, PP- 29-30; Indian Life. 

Sherman, Henry C; Food Products; 
New York; The Macmillan Co. 

*Snedden, Genevra Sisson; Docas, 
The Indian Boy; Boston; D. C. Heath 
& Co.; Indian bread, pp. 20-21. 

Ward, Artemas; The Grocer's En- 
cyclopedia; 50 Union Square, N. Y.; 
Pub. by the auihor; Look under 
Bread, Yeast. 

Wardall, Ruth A., and White, Ed- 
na N. ; A Study of Foods; New York; 
Ginn & Co. 

Brick, Tile and 
Terra Cotta. 

Searle, Albert B.; Modern Brick- 
making; New York; D. Van Nostrand. 

Marquand, Allan; Lucca Delia Rob- 
bia; Princeton N. J.; Princeton Uni- 
versity Press. .-= 

*Snedden, Genevra Sisson; Docas, 
The Indian Boy; Bcston; D. C. Heath 
& Co.; Indian Brick-making, pp. 72-78. 
Building. 

*Goddard, Pliny Earle; Indians of 
the Southwest; New York; American 
Museum of National History; Build 
ings, pp. 23-39; Good Illustrations. 

*Dopp, Katharine E.; The Tree 
Dwellers; Chicago; Rand, McNally 
& Co.; Shelter-Pages 93-98, 102-104; 
Illustrated. 

*Dopp, Katharine E.; The Early 
Cave Men; Chicago; Rand, McNally 
& Co.; Shelter-Pages 18-26, 40-42; Il- 
lustrated. 

Concrete. 

Davison, Ralph C; Concrete Pot- 
tery and Garden Furniture; New 
York; Munn & Co. 

Hering, Oswald C; Concrete and 



Stucco Houses; New York; MoBride, 
Nast & Co. 

Lewis, Myron H., and Chandler, Al- 
bert H.; Popular Hand Book for Ce- 
ment and Concrete Users; New York; 
The Norman W. Henley Pub. Co. 

Shaler, Nathaniel S.; The United 
States of America (Cement) ; New 
York; D. Appleton & Co. 

Furs. 

*Dopp, Katharine E.; The Early 
Cave Men; Chicago; Rand. McNally 
& Co.; Clothing-Pages 55-60; Illus- 
trated. 

*Snedden, Genevra Sisson; Dorcas, 
The Indian Boy; Boston; D. C. Heath 
& Co.; Indian methods of preparing 
skins for clothing, pp. 22-24. 

Iron and Steel. 

William's, Henry Smith; The Won- 
ders of Science in Modern Life; New 
York; Funk & Wagnalls, Vol. IV. 

International, Textbook Co.; Inter- 
national Library of Technology — Ma- 
terials of Construction; Scranton, 
Pa. ; International Textbook Co. 

The New r International Encyclope- 
dia — Iron and Steel; New York; Dodd, 
Mead & Co.; under Iron, Steel. 

Household Industries. 

*Dopp, Katharine E. ; The Tree 
Dwellers; Chicago; Rand, McNally 
& Co.; Food-Pages 57-60; 112-115; 
Illustrated. 

Dopp, Katharine E.; The Later 
Cave Men; Chicago; Rand, McNally 
& Co.; Food-Pages 54-55; 165-168; Il- 
lustrated. 

*Dopp, Katharine E. ; The Tree 
Dwellers; Chicago; Rand, McNally 
& Co.; Tools-Pages 72-80; Illustrated. 

*Dopp, Katharine E.; The Later 
Cave Men; Chicago; Rand, McNally 
&Co.; Weapons-Pages 32-39,73-74,92- 
100, 118-123,153-160; Illustrated. 

*Dopp, Katharine E.; The Early 
Cave Men; Chicago; Rand, McNalley 
& Co.; Weapons-Pages 28-31, 45-54; 
Illustrated. 

♦Snedden, Genevra Sisson; Dorcas, 
The Indian Boy; Boston; D. C. Heath 
& CO. ; Indian fire-making, p. 4 ; meth- 
ods of cooking, pp. 6-7. 

Meat. 

*Laing, Mary E., and Edson, An- 
drew; Edson-Laing Readers, Book 
Three; Chicago; Benj. H. Sanborn & 
Co.; Eskimo Life-Meat, pp. 8-18. 

Wissler, Clark; North American 
Indians of the Plains; New York; 
American Museum of National His- 
tory; Meat, pp. 26-28. 



*Yan Sickle and Seegmiller; The 
Riverside Third Reader; Boston. X. 
Y., Chicago; Houghton-Mifflin Co.; 
Indian Life-Meat, p. 177. 

Paints. 

Smith, J. Cruickshank; The Man- 
ufacture of Faint; London; Scott, 
Greenwood & Son. 

Milk and Dairy 
Products. 

Belcher, S. 1).; Clean Milk; New- 
York; Orange-Judd Pub. Co. 

Green, Mary E. ; Food Products of 
the World; Chicago; The Hotel 
World Pub. Co. 

Greer, Edith; Food, what it is and 
does; New York; Ginn & Co. 

McKay, G. L. and Larsen. C; Prin- 
ciples and Practice of Buttermakin.i.' : 
New York; J. Wiley & Sons. 

Lane, Clarence B.; Business of 
Dairying; New York; Orange-Judd. 

Larsen, C, and White, Wm.; Dairy 
Technology; New York; J. Wiley & 
Sons. 

Michels, John; Creamery Butter- 
making; Wanwatosa, Wis.; The Au- 
thor. 

Sherman, Henry C; Food Products; 
New York; The Macmillan Co. 

Toothaker, Charles R.; Commer- 
cial Raw Materials (Milk); New 
York; Ginn & Co. 

Van Norman, H. E.. First Lessons 
in Dairying; New York; Orange-.Judd 
Pub. Co. 

Ward. Artemas; The Grocer's En- 
cyclopedia, (See articles on Milk, Ice 
Cream,, Butter, Cheese) ; The Au- 
thor; 50 Union Square, N. Y. 

Wardall, Ruth A., and White, Ed- 
na N.; A Study of Foods; New York; 
Ginn & Co. 

Wing, Henry H.; Milk and Its 
Products; New York; The Macmil- 
lan Co. 

Paper. 

Butler, F. ()., The Story of Paper- 
making; Chicago; .J. W. Butler Pa- 
per Co. 

Chase, A., and Clow E.; Stories oJ 
Industry, Vol. I; New York; Educa- 
tional Publishing Co. 

Sindall, R. W.; The Manufacture of 
Paper; London; Archibald Constable 

& Co. 

Toothaker, Charles R.; Oommercial 

Raw Materials (Paper); Xew York: 
Ginn & Co. 

Ward, Artemas; The Grocer's En- 
cyclopedia (Paper); 50 Union Square, 
New York; The Author. 



Pottery. 

Biarber, Edwin Atlee; The Pottery 
and Porcelain of the United States; 
New York; G. P. Putnam's Sons. 

Binns, Charles F. ; The Potter's 
Craft; London; Constable & Co. 

Cox, George J.; Pottery for Artists, 
Craftsmen and Teachers; New York; 
The Macmillan Co. 

*Dutton, Maude Barrows; In Field 
and Pasture; Cincinnati; American 
Book Co. 

Goddlard, Earle Pliny; Indians of 
the Southwest; New York; American 
Museum of National History; Pottery, 
pp. 41-44; 90-94; 143-145; Excellent 
Illustrations. 

Holland, R. S. ; Historic Inventions; 
Philadelphia; George W. Jacobs & 
Co; Palissy and His Enamel, pp. 42- 
52. 

Huddilston, John Homer; Lessons 
from Greek Pottery; New York; The 
Macmillan Co. 

*Laing, Mary E., and Edson, An- 
drew; Edson-Laing Readers, Book 
Three; Chicago; Benj. H. Sanborn & 
Co.; Indian Poteery, pp. 35-39; Excel- 
lent Illustrations. 

Moore, N. Hudson; Delftware, Dutch 
and English; New York; Frederick 
A. Stokes Co. 

Moore, N. Hudson; Wedgewcod and 
His Imitators; New York; Frederick 
A. Stokes Co. 

Pottier, Edmond; Douris and the 
Painters of Greek Vases; London; 
John Murray. 

Skinner, Alanson; The Indians of 
Manhattan Island and Vicinity; New 
York; American Museum of National 
History; Pottery, pp. 31-36; Designs 
p. 35. 

Walters, H. B., History of Ancient 



Pottery in two volumes; London; 
John Murray. 

Printing and 
Publishing. 

Aldrich, Thomas Bailey; Friar Je- 
rome's Beautiful Book; New York; 
Houghton, Mifflin & Co.; manuscript, 
illuminating, illustrated. 

Holland, R. S. ; Historic Inventions; 
Philadelphia; George W. Jacobs & 
Co.; Gutenberg and the Printing 
Press, pp. 9-41. 

Weaving. 

♦Carpenter, Frank George; How 
the World is Clothed; Cincinnati; 
American Book Co.; Flax, pp. 50-59. 

*Dutton, Maude Barrows; In Field 
and Pasture; Cincinnati; American 
Book Co.; Indian Weaving, pp. 19-21; 
Splendid Illustrations. 

Eppendorff, Lina; Handwork Con- 
struction; Brooklyn, N. Y.; The Au- 
thor, Pratt Institute; pp. 15-33. 

Goddard, Pliny Earle; Indians of 
the Southwest; New York; Americon 
Museum of National History; Weav- 
ing, pp. 49-52; 94-95; 152-159; Excel- 
lent Illustrations. 

Holland, R. S.; Historic Inventions; 
Philadelphia; George W. Jacobs & 
Co.; Whitney and the Cotton-gin, pp. 
96-110, Argwrigiht and the Spinning- 
jenny, pp. 84-95. 

*Laing, Mary E., and Edson, An- 
drew; Edson-Laing Readers, Book 
Three; Boston, N. Y.; Chicago; Benj. 
H. Sanborn & Co.; Indian Rug-weav- 
ing, pp. 30-31; Good Illustration. 

Toothaker, Charles R. ; Commercial 
Raw Materials; Boston; Ginn & Com- 
pany; Flax, pp. 19-20. 

New International Encyclopedia. 
Look under carding, spinning, weav- 
ing, cotton, wool, flax, silk. 



LIBRARY OF CONGRESS 




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